David Klöcker Ehrenstråhl (Attributed) – The allegory of virtue
1680.
Location: National Museum (Nationalmuseum), Stockholm.
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The second individual, situated to the right, appears more ethereal. She is draped in flowing blue robes that billow around her, creating an impression of lightness and grace. A laurel wreath adorns her head, a traditional symbol of victory and virtue. Her expression is serene, almost detached from the energetic movement of her partner. The positioning of her arm, raised high, suggests bestowal or guidance.
Below them, two cherubic figures are visible, holding aloft a banner inscribed with Latin text. Their presence reinforces the painting’s allegorical nature, acting as witnesses to the scene unfolding above. The banner itself likely conveys a moral message or philosophical statement related to the virtues represented by the central figures.
The color palette is dominated by warm tones of orange and brown for the male figure and his drapery, juxtaposed with cool blues and whites associated with the female figure and her garments. This contrast may signify opposing forces or qualities that are being reconciled within the allegory. The dramatic lighting emphasizes the dynamism of the scene, highlighting the muscularity of one figure while softening the features of the other.
Subtly, the painting seems to explore themes of aspiration, reward, and perhaps even the pursuit of ideals. The male figure’s forward momentum could represent ambition or striving, while the female figure embodies the attainment of virtue – the laurel wreath signifying recognition and honor for that achievement. The cherubs and banner serve as a conduit between the divine realm and earthly concerns, suggesting that virtuous actions are acknowledged and celebrated beyond the mortal sphere. The darkened horizon hints at challenges overcome in the pursuit of these ideals.